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BLUE AND WHITE RECTANGULAR VASE QING DYNASTY, KANGXI MARK BUT 19TH CENTURY 清 康熙款 青花花卉人物紋方瓶 of four-sectioned baluster form with an everted mouth rim, one wider side of the exterior painted with three figures in a garden setting, the other three sides painted with different blossoming flowers on rocks, the neck similarly decorated, the base inscribed with a six-character apocryphal Kangxi mark in underglaze blue(30cm high)Provenance: formerly in a private English collection

DOUCAI 'WANG XIZHI AND GOOSE' CUP QING DYNASTY, KANGXI MARK AND OF THE PERIOD 清康熙款及年代 鬥彩羲之愛鵝圖杯 delicately potted with a slightly everted rim, the exterior painted with a continuous scene depicting the Jin Dynasty writer Wang Xizhi leaning against a gnarled pine tree watching a pair of geese and a boy attendant, the base inscribed with a six-character Kangxi mark within double-circle in underglaze blue(9.1cm diameter)

PAIR OF BLUE AND WHITE 'LADY' BALUSTER VASES QING DYNASTY, KANGXI MARK BUT 19TH CENTURY 清 康熙款 青花仕女圖瓶一對 each rising from a short spreading foot to a short and straight neck, the exterior painted with four ladies holding a flower in a cartouche formed by plantain trees and butterflies, the neck further adorned with flowers, the base inscribed with a four-character apocryphal Kangxi mark in underglaze blue(23.5cm high each)

BLUE AND WHITE 'LONGEVITY' GINGER JAR QING DYNASTY, KANGXI PERIOD 清康熙 青花壽字花卉紋罐 the exterior painted with six 'shou' longevity characters, intermittent with floral motifs, all between plantain leaves above the foot and a band of ruyi cloud head below the mouth(20.5cm high)Provenance: Private English collection, Surrey; acquired from a private Scottish collection

GILT-DECORATED CORAL-RED- GLAZED TEA BOAT QING DYNASTY, JIAQING MARK AND OF THE PERIOD 清嘉慶款及年代 珊瑚紅地描金纏枝蓮紋茶船 of boat form, the base of the interior painted with a lotus surrounded by four butterflies, each side of the interior decorated with a bat and lotus in tendrils, the exterior further adorned with butterflies and lotus in tendrils, the base inscribed with a six-character Jiaqing mark in iron-red on a turquoise ground(14.5cm wide)Provenance: Private English collection, SurreyNote: In Tao Ya, the old man of Jiyuan in the Qing Dynasty mentioned that "A cup holder is called a tea boat. In the Ming dynasty, it was made like a boat. In the Kangyong (Kangxi and Yongzheng) period, the holder for a small wine cup was rounded and not hollowed, but the Song kiln was hollowed. The design over time has fixed the simplicity and clumsiness." It can be seen that the boat-shaped cup holder or saucer appeared in the Ming dynasty. Its purpose was to hold the teacup to keep the heat from hands. Later, due to its boat-like shape, it was then named the "tea boat".

PEACHBLOOM-GLAZED BEEHIVE WATER POT KANGXI SIX-CHARACTER MARK AND POSSIBLY OF THE PERIOD 康熙款或到代 豇豆紅釉太白尊 the rounded sides raised to a short, waisted neck and slightly flaring mouth, incised with three archaistic dragon roundels beneath a glaze of even, crushed strawberry tone suffused with mottled copper-green, the rim, interior and base are covered in a transparent glaze, the base inscribed with a six-character Kangxi mark in underglaze blue(12.5cm wide)Provenance: formerly in a private American collectionNote: Water pots of this form are known as Taibai zun, after the Tang dynasty poet Li Bai (also named Li Taibai, 701-762) who is often depicted leaning against a large wine vat of this shape. Similar peachbloom-glazed water pots are found in various museums and collections worldwide, including the Percival David Foundation of Chinese Art, illustrated in Earth, Fire and Water: Chinese Ceramic Technology, London, 1996, no. 24, p. 34; the Baur Collection, Catalogue, vol. III, Geneva, 1999, nos. A305, A310 and A313-A316; a full set of the eight vessels at the Metropolitan Museum of Art, illustrated by S.G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 237; the British Museum, Oriental Ceramics, The World's Great Collections, vol. 5, Tokyo, 1981, no. 230. Compare to a similar water pot sold at Christie's Hong Kong, 30 November 2011, lot 2924. An example of a smaller size (8.9cm diam.) was sold at Sotheby's Hong Kong, 11 April 2008, lot 2907.

WUCAI BARREL-SHAPED TEAPOT WITH COVER QING DYNASTY, KANGXI PERIOD 清康熙 五彩開光山水人物紋鼓式茶壺（含後嵌銀壺嘴） finely painted on either side with small figures in a mountainous landscape in a cartouche, the top and bottom of the teapot moulded with raised bosses, the cover similarly decorated with a lion finial, attached with a loop handle, mounted with a silver straight spout(18cm wide)Provenance: Private English collection, Surrey; formerly in a private English collection, Devonshire

FAMILLE ROSE PEACH-FORM 'PHEASANT AND BAMBOO' CADOGAN POT QING DYNASTY, QIANLONG PERIOD 清乾隆 粉彩雉雞竹林花卉紋壽桃型倒流壺 moulded in peach form standing on an everted foot, painted on one side with a pheasant in a bamboo grove, the other side adorned with various flowers, branches of moulded leafy stems encircling the top of the body, set with a hollow loop-handle with an opening at the bottom and an upward-pointing spout, the base with a very thin coating of glaze and a perforation in the centre(19.5cm wide)Provenance: Private English collection, acquired in 2017; Formerly in an English private collection, Suffolk.Note: a comparable famille rose peach-shaped cadogan pot with applied floral design, dated to the Qianlong period, was sold at Rob Michiels Auctions, Belgium on 13th March 2021, lot 105. These peach form pots were a Chinese novelty meant to be a puzzling curiosity to a gathering of people who were sharing the wine. It appears there is no way to fill the ewer as there is no aperture on top, it seems impossible to fill it from the hole beneath as it would run straight out. The liquid is filled through a funnel in the base that extends vertically inside the pot to a height that prevents the liquid from escaping when the pot is turned right side up after filling. The later name, Cadogan, refers to teapots made in Europe, as well as the original Chinese form. It is said that William Cadogan, 1st Earl Cadogan (1675 – 1726), was the first person to own a Chinese wine pot of this shape, hence the name. In England, the Cadogan teapot was particularly popular in the second quarter of the 19th century. A Meissen copy of such Chinese form and decorated in European style, dated ca. 1725, is in the collection of the Metropolitan Museum of Art, accession number: 1974.356.488. It was modelled after a Chinese porcelain wine pot from the Kangxi period (1662–1722).

PAIR OF FAMILLE VERTE 'HU' VASES KANGXI MARK BUT 19TH-20TH CENTURY 十九至二十世紀 康熙款 綠彩花鳥紋四方壺形對瓶 each of four-sectioned 'hu' form, supported on a high splayed foot, the exterior painted with birds and butterflies with various flowers, the sides of the foot painted with different Daoist attributes, all decorated in mirrored arrangement, the base inscribed with a six-character apocryphal Kangxi mark in underglaze blue(30.5cm high each)Provenance: Private English collection, Southampton

BRONZE RECTANGULAR INCENSE BURNER KANGXI MARK 康熙款 銅鑄方形戟耳馬槽爐 heavily cast and raised on four bracket feet, the body flanked by a pair of handles in openwork, the base cast with a six-character Kangxi mark within a recessed panel(16.5cm wide across handles; 1938g)

LARGE CLOISONNÉ ENAMEL FOLIATE CHARGER QING DYNASTY, 18TH-19TH CENTURY 清 康熙款 銅胎掐絲琺瑯鳳凰麒麟圖大盤 supported on a short straight foot, the interior finely decorated with a running mythical animal qilin and a flying phoenix in a garden scene, the cavetto lined with alternating panels depicting pairs of cranes and deer, the underside of the cavetto adorned with Eight Buddhist Emblems alternating with lotus flowers in foliage, the base further decorated with six lotus flowers, the centre carved with a six-character Kangxi mark in a double rectangular panel and with gilt highlights(48.2cm diameter)

A Chinese blue and white bottle vase painted with a snake charmer Kangxi reign mark (later date), together with a similar smaller vase with the same reign mark (2)Bottle vase with a flat chip to the rim, smaller jar heavily crazed and with staining, no restoration to either

TWO CHINESE FAMILLE VERTE PORCELAIN CUPS, KANGXI PERIOD (1662-1722). Both with floral decoration and seal mark in double ring in underglaze blue. 7.2cm diam. (2)

FOUR CHINESE BLUE AND WHITE PORCELAIN ITEMS, 18/19TH CENTURY. To include two deep dishes with floral pattern designs, a bowl with Kangxi lozenge mark in double ring and a blue and white pot with handle. Largest dish 25cm diam. (4)Larger dish in good overall condition. Other dish small chip to rim, with no cracks. Bowl with slight chips to foot rim, no cracks. Jug in good overall condition. All with no signs of repairs.

A CHINESE BLUE AND WHITE AND CAFÉ-AU-LAIT TYPE VASE, KANGXI MARK. Of baluster form with twin elephant head handles decorated with 'Shou' character and fish. Six-character mark of Kangxi to base in double ring. 23cm height.Vertical hairline from mid section of body running through base.

TWO CHINESE BLUE AND WHITE PORCELAIN BOWLS, 19TH CENTURY. To include a rounded bowl decorated with windows of figures and decorative objects, four-character mark of Kangxi to base. Together with an octagonal lobed bowl decorated with ladies and floral bouquets, four-character marl of Kangxi to base. 17cm and 21.5cm diam. (2)The larger bowl with visual area of repair and overpaints, with 4cm hairline. The lobed bowl with fingernail size repair to rim with minor fritting.

A CHINESE FAMILLE VERTE PORCELAIN CHARGER, KANGXI PERIOD (1662-1722). Decorated with butterflies and peony blossoms. Mark to base in double ring. 33cm diam.Repair to edge - Pieces re-stuck. Fritting and chips to rim. Possible repair to base.

A CHINESE UNDERGLAZE BLUE AND RED DRAGON VASE. The vase body and neck decorated with dragons chasing flaming pearls with key fret border to shoulder and wide splayed rim. Glazed six-character marks to base of Kangxi. 35cm height.Fritting to rim with areas of crazing to porcelain. No cracks or chips and no signs of repair.

A CHINESE BLUE AND WHITE PORCELAIN PHOENIX JAR AND COVER, 18TH CENTURY. Covered in a scale pattern with peony medallion between two flying phoenixes. Kangxi period (1662-1722). 29cm height. Provenance: Private English collection of Sir Mark Heath KCVO CMG (1927-2005), and thence by descent.Slight glaze chip to rim of jar. No further damage or repair.

A CHINESE PORCELAIN VASE, 20TH CENTURY. Decorated with Sage and followers under a tree, with poem to verso. Six-character mark of Kangxi to base. 45cm height.Overall good condition with no cracks or chips. No signs of repair. General surface wear only.

CHINESE BLUE AND WHITE PORCELAIN DISH & BOWL, 19TH CENTURY. A blue and white porcelain dish decorated with butterflies, bats and 'Shou' character. Together with a blue and white porcelain bowl decorated with figures with four-character mark of Kangxi to base. Dish 25.5cm diam. (2)Repair to dish edge - two pieces re-stuck, chip to edge with faint hairlines. Bowl with two chips to rim with hairlines.

TWO CHINESE PORCELAIN DISHES, 18TH CENTURY. To include a large Chinese Imari dish, Kangxi period (1662-1722). Together with a famille rose dish, Yongzheng period (1722-35). 22cm and 35cm diam. (2)Larger dish with with repair to edge - two pieces re-stuck leading into a hairline crack into the body, also with slight chips to rim. The smaller dish with 5cm hairline and two shallow chips to rim.

A CHINESE BLUE AND WHITE PORCELAIN GOBLET, KANGXI PERIOD (1662-1722). With floral decoration in underglaze blue and leaf mark to base. 14.7cm height.Visual crack to top of the stem where it has been re-stuck. Shallow chips and fritting around the foot.

A LARGE CHINESE BLUE AND WHITE PORCELAIN CHARGER, 19TH CENTURY. Decorated with lotus scrolls. Six-character mark of Kangxi to base. 37.5cm diam.Visible hairlines to base with small areas of damage to centre of dish. No cracks or chips to edge of dish.

A CHINESE FAMILLE VERTE PORCELAIN VASE, KANGXI MARK. Of square tapering form and flared neck. Each side decorated with various scenes of figures. Six-character mark of Kangxi to base but later. 40cm tallGood overall condition with general surface wear only. No sings of repair.

A VERY RARE LARGE JADE CARVING OF A WATER BUFFALOQianlongThe imposing yet peaceful recumbent beast naturalistically modelled with its forelegs and hind legs tucked under the powerful body accentuated by a pronounced spine, the tail flicked to the right side and head turned to gaze amenably at the viewer, the gracefully-curved ridged horns flanking the flat forehead, the stone of pale-green tone with brown patches, huanghuali stand. 22cm (8 1/2in) long (2).Footnotes:清乾隆 青玉臥牛Provenance: William Clayton Ltd., London, 31 July 1978James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦古董商William Clayton Ltd.，1978年7月31日James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。The imposing recumbent beast conveys at once both strength and peacefulness. The sheer size and weight of the jade stone, the muscular haunch, full rounded body and the striking ribbed horns exude power; the recumbent pose and countenance convey tranquillity.Buffalos were emblematic of agriculture. As such, in Imperial China, where agriculture was considered by Confucian governments to be the main source of tax revenue, the buffalo - used for ploughing - underpinned rice production and the rural economy, and represented prosperity and dedication to hard work. Emperors frequently likened themselves to farmers ploughing the fields with an ox or buffalo under their reins. See for example, the Yongzheng emperor depicted as a famer in Pictures of Tilling and Weaving Portraying Yinzhen, Kangxi period, in the Palace Museum, Beijing (acc.no. Gu00006634-8). See also Le Premier Sillon ouvert par l'Empereur, Qingeng tu, Yongzheng period, in Musée national des arts asiatiques Guimet, illustrated in Les très riches heures de la cour de Chine, Paris, 2006, no.24, depicting the Yongzheng emperor ploughing the first furrow when offering sacrifice at the Altar to the God of Agriculture, Xiannong tan.Buffalos were also employed in literati paintings, to evoke a bucolic, idealised existence in the countryside. This fitted in with the Confucian ideal of a world in peace and harmony with peasants - the second highest in the Confucian social hierarchy after scholars - contributing to the wealth of the empire. The buffalo in turn, fed into a more mythical or spiritual side, recalling both Buddhist and Daoist preoccupation with simplicity, retreat, and the subjugation of the ego. The philosopher Laozi, is frequently represented in paintings and sculpture riding a buffalo.Another aspect of the buffalo is its guardian function, stemming from the legend of the emperor Yu of the Xia dynasty casting an iron ox to subdue floods. This interpretation was most notably represented in the huge bronze ox commissioned by the Qianlong emperor in 1755 and placed gazing out over the Kunming Lake at the Summer Palace. Depicted in jade rather than bronze, with an eternally placid yet watchful expression, the present jade water-buffalo was also meant to observe and protect its owner.See a related jade buffalo, Qianlong mark and period, illustrated in Jade: Ch'ing Dynasty Treasures, Taipei, 1997, no.151. A large green jade buffalo, Qianlong, is also illustrated in The Woolf Collection of Chinese Jade, London, 2003, no.99. A further related green jade buffalo, 17th/18th century, is illustrated by Gowills, Jade of the East, New York, 1972, p.112, p.177, and was later sold at Tajan, Paris, 22 October 2011, lot 16.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A VERY RARE AND IMPORTANT CIVIL OFFICIAL'S RANK BADGE OF A CIRCULAR CRANE, BUZIKangxiMade for a First Rank civil official, the crane finely worked in white satin stitch alighting on a rock emerging from rolling waves interspersed with jewels, surrounded by ruyi clouds and the sun finely worked in satin stitch in shades of blue, green and coral raised silk threads, geometric patterns of couched gold thread, including the pitted rock and the border, all reserved on a dense ground of couched gold threads within a scroll border, mounted. 36cm (14 1/8in) high x 35cm (13 3/8in) wide.Footnotes:清康熙 金地彩繡一品文官仙鶴紋補子Provenance: Konantz-Benton-Minnich Collection, Minneapolis, MNMinnesota Museum of Art, Minneapolis, MNLinda Wrigglesworth, London, acquired in 1995Published and Illustrated: L.Wrigglwsworth, Making the Grade, London, 1946, p.42.來源：美國明尼蘇達州，Konantz-Benton-Minnich舊藏美國明尼蘇達州明尼阿波利斯，明尼蘇達藝術博物館舊藏倫敦Linda Wrigglesworth收藏，於1995年入藏出版著錄：L.Wrigglwsworth，《Making the Grade》，倫敦，1946年，頁42Boldly designed in brilliant colourful silk, making lavish use of couched-gold thread worked in a geometric pattern, the present badge is a rare example probably dating to the early to middle phase of the Kangxi reign and would have been made for a civil official of the first rank. The tendency of using circles for bird designs, as well as the lavish use of the gold with the gold outline around the major elements and the symmetrical positioning of the precious objects amidst the rolling waves appear to be features more typical of the early Kangxi period; see B.Jackson and D.Hugus, Ladder to the Clouds: Intrigue and Tradition in Chinese Rank, Berkeley CA, 1999, pp.224-226.The Manchurian crane was thought to live for over 200 years and stored its accumulated wisdom in its red 'cap'. This is probably why the emblem of this bird was used for the emperor's closest advisors. Badges decorated with different types of birds were reserved for use by the civil officials. The birds used as a rank insignia were based on real, rather than imaginary species. These creatures generally symbolised literary elegance and were thus a suitable creature to designate civil officials who had gained their position through examinations based on the classics of the Confucian canon; see L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, pp.121-122.Compare with a similar embroidered silk badge of a circular crane, early Qing dynasty, illustrated by L.Wrigglesworth, The Imperial Wardrobe, Berkeley, 200, p.121, pl.101. A nearly identical silk badge of a circular crane, Kangxi, illustrated by B.Jackson and D.Hugus, Ladder to the Clouds. Intrigue and Tradition in Chinese Rank, Berkeley, 1999, pp.224, was sold at Christie's New York, 25 March 2022, lot 1156.For further information on this lot please visit Bonhams.com

A BLANC-DE-CHINE 'PRUNUS' VASELate 17th/18th centuryThe tall slender body rising from a stepped foot to a flaring neck, the body applied with branches of blossoming prunus and peony, covered overall in a creamy ivory-white glaze. 48cm (19in) high.Footnotes:十七世紀末/十八世紀 德化白釉堆貼梅紋觚Provenance: Arthur Barnardiston (1685-1737), Brightwell Hall, Suffolk, and thence by descent, by repute來源：傳為英國薩福克郡布萊克威爾大宅亞瑟·巴那迪斯頓爵士（1685-1737）舊藏，並由後人保存迄今Arthur Barnardiston (1685-1737), was apprenticed to John and Walter Morrice, mercers and members of the Levant Company, 1703, and became a 'Turkey merchant', living for some years in Smyrna. Compare with a related pair of blanc-de-Chine vases with a very similar motif, Kangxi, which was sold at Sotheby's Paris, 30 June 2016, lot 71.For further information on this lot please visit Bonhams.com

A FAMILLE VERTE 'JIA SIDAO' DISHKangxiBrightly enamelled with female equestriennes within a pavilion garden, overlooked by attendants and the Minister Jia Sidao with a fan, his foot on the balcony rail as if to jump over in excitement. 54.5cm (21 1/2in) diam. Footnotes:清康熙 五彩月下跑馬圖盤Provenance: Highfield Jones collectionSotheby's London, 30 November 1954, lot 113Eskenazi Ltd., London, 1986來源：Highfield Jones舊藏倫敦蘇富比，1954年11月30日，拍品編號113倫敦古董商Eskenazi Ltd.，1986年The presence of horse-riding women usually identifies this subject matter as the story of 'The Female Troops of the Yang Family'. Indeed, the composition is extremely similar to other dishes with this story. However, the crucial difference between this subject and that of the last Southern Song dynasty minister Jia Sidao, is the excited male figure on the balcony holding a fan. In the present lot, Jia Sidao is comically enjoying the pleasures of women riders at his Geling mansion by West lake. His over-excitement leads him to almost step off the balcony. According to the 'History of the Song Dynasty', emperor Duzong ascended the throne with the support of Jia Sidao (1213-1275) in 1264 after emperor Lizong passed away. He bestowed upon Jia the title of Imperial Teacher and a mansion at Geling in West Lake. Jia was allowed to attend the Imperial audience every three days and handle state affairs in his residence. At that time, all candidates who passed the Civil Examination were Jia's students and visited his mansion to deliver their gratitude. Jia wielded great influence throughout the government.In 1269, Jia became more arrogant and requested retirement quoting health reasons. Emperor Duzong, in tears, tried to retain him. In the end, emperor Duzong gave in, exempting Jia from performing the ritual bow when greeting the throne and allowing him to attend the Imperial audience every ten days. A contemporary poem made a sarcastic remark of the situation that there is no prime minister at the court but in West Lake instead. When the Mongols besieged Xiangyang, Jia paid no attention but surrounded himself with beautiful concubines ranging from Palace ladies and prostitutes to nuns in his Geling mansion. Jia was eventually assassinated and considered an 'evil' minister that led to the ultimate conquest by the Mongols. The figure in the Song official attire wearing the Imperial Teacher hat and brandishing a folded fan is Jia Sidao. In ancient China, holding a fan was a symbol of power and identity. The figure therefore should wield great power and enjoy a high social standing. The craftsmen who painted the present lot however, recycled the imagery and composition used to depict the ladies of the Yang family. See for example, a blue and white rouleau vase decorated with Jia Sidao holding a fan, Kangxi, illustrated in Folklore in Ming and Qing Porcelain, Hong Kong, 2019, pp.83-87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE YELLOW-GROUND GREEN-ENAMELLED 'DRAGON AND PHOENIX' BOWLKangxi six-character mark and of the periodWith deep rounded sides rising from a tapered foot to a gently flaring rim, the exterior delicately incised and enamelled in green on a bright egg-yolk yellow ground with a band of two five-clawed dragons striding amongst flames in pursuit of flaming pearls, above five phoenix roundels divided by stylised cloud scrolls, the interior painted in underglaze blue with a central medallion enclosing a stylised shou character within double-line borders repeated at the rim.15cm (5 7/8in) diam.Footnotes:清康熙 黃地綠彩龍鳳紋盌青花「大清康熙年製」楷書款Provenance: a European private collection來源：歐洲私人收藏The present bowl is rare and unique to the Kangxi period, depicting both phoenix roundels below dragons in a green and yellow palette. Yellow-glazed wares with green dragons are mentioned in Palace regulations as having been reserved for the Imperial consorts or the highest-ranking concubines. The present variation of 'phoenix and dragon' bowls may have been produced for a special occasion, such as a birthday, as suggested by the auspicious 'longevity' (shou 壽) character depicted on the interior.Only a small number of this type of bowl have been published. An identical bowl, Kangxi mark and period, in the National Palace Museum, Taipei, is illustrated in Good Fortune, Long Life, Health, and Peace: A Special Exhibition of Porcelains with Auspicious Designs, Taipei, 1995, pl.19; a second example, Kangxi mark and period, formerly in the Tsui Museum of Art, is illustrated in Chinese Ceramics IV. Qing Dynasty, Hong Kong, 1995, pl.111, and a third bowl is illustrated by S.Jenyns, Later Chinese Porcelain, London, 1951, pl.LXIX, no.2.Compare with a very similar bowl, Kangxi six-character mark and of the period, which was sold at Christie's Hong Kong, 1 June 2011, lot 2863.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE AUBERGINE-GLAZED GREEN-GROUND 'DRAGON' BOWLKangxi six-character mark and of the periodThe bowl with rounded sides rising from a short straight foot to an everted rim, decorated to the exterior with incised aubergine designs depicting a pair of striding five-clawed dragons amidst clouds in pursuit of 'flaming pearls', above waves breaking against stylised rocks, reserved in aubergine enamel on a rich emerald-green enamel ground, the interior and base with a transparent glaze, the six-character mark within a double circle. 13.3cm (5 1/8in) diam.Footnotes:清康熙 綠地紫龍紋盌青花「大清康熙年製」楷書款Provenance: S. Marchant & Son, LondonA British private collection, and thence by descent來源：倫敦古董商S. Marchant & Son英國私人收藏，並由後人保存迄今Two-coloured 'dragon' bowls and dishes displaying the same colour scheme as the present example were made throughout the Qing dynasty, however, Kangxi examples are extremely rare. The present colour combination is also known in Yongzheng, Qianlong, Jiaqing, Daoguang and Guangxu examples, and perhaps others; the largest number date from the Daoguang period.A similar green-ground aubergine-glazed 'dragon' bowl, Kangxi mark and period, is illustrated by Geng Baochang, ed., Gugong Bowuyuan cang gu taoci ciliao xuancui, vol.2, Beijing, 2005, pl.88; another in the Shanghai Museum is published by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl.196. Compare also with two other similar green and aubergine-glazed 'dragon' bowls, Kangxi marks and period, in the Helen and Peter Lin Collection, illustrated in Joined Colors, Decoration and Meaning in Chinese Porcelain, Washington, 1993, p.90, no.19 and p.91, no.20. See also another green-ground aubergine-glazed 'dragons' bowl, Kangxi six-character mark and of the period, illustrated by A.du Boulay, Christie's Pictorial History of Chinese Ceramics, Oxford, 1984, p.211, no.3.Compare with a similar aubergine-glazed green-ground 'dragon' bowl, Kangxi mark and of the period, which was sold at Sotheby's Hong Kong, 7 April 2010, lot 1958.For further information on this lot please visit Bonhams.com

A VERY RARE PAIR OF IMPERIAL DOUCAI 'DRAGON' DISHESYongzheng six-character marks and of the periodThe delicately potted dishes brilliantly decorated in a characteristic wucai palette of darker and lighter green, iron-red, aubergine and yellow enamels, each with a ferocious front-facing five-clawed dragon soaring amidst flames and colourful clouds in pursuit of a flaming pearl, encircled by five striding dragons chasing flaming pearls painted in underglaze blue beneath a gilt rim, the exterior vividly decorated with four phoenix in flight divided by stylised cloud wisps, fitted box. 19.7cm (7 7/8in) diam. (3).Footnotes:清雍正 鬥彩龍鳳紋盤一對青花「大清雍正年製」楷書款Provenance: an English private collection, and thence by descent來源：英國私人收藏，並由後人保存迄今Visually commanding for the powerful design of a dragon writhing amidst flames, balanced by the elegance of the four phoenixes, depicted flying on the underside amidst ruyi clouds, the current dishes are magnificent examples of the technical proficiency of craftsmen employed at the Imperial kilns in Jingdezhen. The creative ingenuity of the Yongzheng potter is evident in the perfectly positioned and spaced elements of the design so that attention is cleverly drawn to the central dragon.The dragon decoration on the present dish appears to be a direct continuation of the Kangxi period, as demonstrated in the design of the dragon on a polychrome dish, Kangxi, illustrated in The Complete Collection of the Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Shanghai, 2007, p.117, pl.107. The similarity of the central design to the Kangxi period example suggests an early Yongzheng date for the present lot, as it is of more refined quality in its potting and enamelling characteristic of the Yongzheng period.Dishes decorated with similar 'dragon and phoenix' designs, such as the present examples, appear to be extremely rare. A few similar examples can be found in important museum collections, such as the doucai dragon dish, Yongzheng mark and period, in the Victoria and Albert Museum, London, museum no.C.45-1928; another example, formerly in the Tsui Museum of Art, is illustrated in The Tsui Museum of Art, Chinese Ceramics IV, Qing Dynasty, Hong Kong, 1995, pl.126.Compare with a similar imperial doucai 'dragon' dish, Yongzheng six-character mark and of the period, which was sold in Bonhams Hong Kong, 28 November, 2017.For further information on this lot please visit Bonhams.com

A DOUCAI BRUSHPOT, BITONGKangxiDelicately outlined in blue and enamelled with green rocks issuing a twisting grisaille branch of iron-red prunus supporting a perching bird, beside clumps of iron-red and yellow chrysanthemum flowers and bamboo sprays, the reverse with two further birds in flight above three scattered rocks. 14.3cm (5 5/8in) high.Footnotes:清康熙 鬥彩花鳥紋筆筒Provenance: a former Governor of Hong Kong in the late 19th century, and thence by descent來源：十九世紀晚期前香港總督藏品，並由後人保存迄今Brushpots were vital accessories for the scholar's table to hold his brushes. The present lot is finely decorated with birds and flowers; typical literati motifs and created for their market. The present design was probably copied from one of the illustrated woodblock printed books that proliferated at the time, such as the 'Manual of the Mustard Seed Garden' (芥子園畫傳), that catered for a new generation of literati wishing to cultivate themselves in the art of painting; see J.P.Park, Art by the Book: Painting Manuals and the Leisure Life in Late Ming China, Seattle and London, 2017.For further information on this lot please visit Bonhams.com

A COPPER-RED 'DRAGON' MEDALLION BOWLKangxi six-character mark and of the periodFinely potted with rounded sides rising from a slightly inward-tapering foot to an everted rim, the exterior decorated with five five-clawed dragons coiled to form medallions and a single dragon to the interior, the copper-red firing to a rosy pink with a faint speckling of apple-green, all reserved on a milky-white ground. 14.6cm (5 3/4in) diam.Footnotes:清康熙 釉裏紅團龍紋盌青花「大清康熙年製」楷書款Provenance: a UK private collection來源：英國私人收藏A similar bowl, Kangxi mark and of the period, is illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, no.733. Another similar bowl is illustrated by J.Ayers, The Baur Collection Geneva: Chinese Ceramics, Geneva, 1968-74, vol.4, no.A 530.Compare with a very similar bowl, Kangxi six-character mark and of the period, which was sold at Sotheby's New York, 19 March 2013, lot 35.For further information on this lot please visit Bonhams.com

A LARGE BLUE AND WHITE 'FLORAL' BOWLKangxiSturdily potted with deep rounded sides rising from a short, inward-tapering foot, densely painted around the exterior in cobalt-blue with upright leaf-shaped panels containing floral sprays interspersed with further foliate scrolls, the interior with a floral band at the rim, the well with further floral scrolls. 36cm (14 1/4in) diam.Footnotes:清康熙 青花花卉紋大盌This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A BLUE AND WHITE SOFT-PASTE VASEKangxi The compressed body rising from a tall spreading foot and surmounted by a tall cylindrical neck with one rib, the exterior painted with a scene of two fishermen in a boat pouring wine, another lady in a boat approached by two oarsmen on the shore, the neck with a band of pendent ruyi-heads beneath the rib, above the rib with bamboo and bird. 33cm (13in) high.Footnotes:康熙 漿胎青花人物紋長頸瓶Provenance: Soame Jenyns (1904-1976), by repute來源：傳為索姆·詹寧斯（1904-1976）舊藏Soame Jenyns was an important scholar and curator in the field of Asian ceramics and art history. From 1927 to 1931 he was in the Hong Kong civil service, after which he joined the British Museum where, except for secondment to the Admiralty during the war, he remained until 1968. He was on the Committee of the Royal Academy Exhibition, 1935-1936. Furthermore, he was Deputy Keeper of the Department of Oriental Antiquities 1950 to 1968. Between 1954 and 1972 he made gifts of Chinese porcelain to the British Museum. A selection of Chinese and Japanese ceramics are in the Marlay Gallery at the Fitzwilliam Museum, Cambridge on loan from the Jenyns family.For further information on this lot please visit Bonhams.com

A RARE 'COROMANDEL' LACQUER 'BIRTHDAY BANQUET' TWELVE-LEAF SCREENKangxi, cyclically dated to Guiyou Year, corresponding to 1693 and of the periodExquisitely decorated on the front with a detailed scene of ladies, children and courtiers engaged in various elegant pursuits within a palatial complex, in the central hall sage proffers a large peach to a high official, all enclosed within a border carved with the 'Hundred Antiques', the reverse with calligraphic birthday inscription and the names of donors. Each panel 292cm (115in) high x 47cm (18 1/2in) wide. (12).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙，一六九三年 款彩慶壽圖十二開圍屏Provenance: Ariane Dandois, ParisGeorge McFadden and McFadden Brothers Partnership, acquired from the above in 1991Christie's New York, 20 October 2011, lot 564來源：巴黎古董商Ariane DandoisGeorge McFadden and McFadden Brothers Partnership，於1991年購自上者紐約佳士得，2011年10月20日，拍品編號564The present lot was commissioned for the Chinese domestic market and not for export (as the term 'Coromandel' implies) as is clearly demonstrated by the lengthy inscription. Such screens were highly expensive and laborious to produce, and were intended for use by high-ranking officials, scholars and gentry who commissioned them to commemorate important events. The present lot appears to have been commissioned by a group of officials who are named on the far left-hand side, for a birthday.The palatial scene on the screen depicts a reception or banquet given by General Guo Ziyi 郭子儀 (697-781), a celebrated figure who was credited with saving the Tang dynasty by putting down the An Shi rebellion. He was later made a prince and eventually deified in popular culture as a God of Wealth and Happiness. He is being presented with a large peach, also symbolic of longevity. The subject would have made this screen a highly appropriate birthday gift.Several 'coromandel' lacquer screens with similar scenes of palaces and processions, Kangxi, are illustrated by W.De Kesel and G.Dhont in Coromandel: Lacquer Screens, Gent, 2002, pp.40-44. See also further examples illustrated by M.Beurdeley, Le Mobilier Chinois: Le Guide du Connaiseur, Fribourg, pp.135-142.See a related twelve-leaf 'Coromandel' lacquer screen with palace scenes, Kangxi, which was sold at Bonhams London, 11 May 2021, lot 250.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

China, blauw-witte porseleinen pelgrimsfles, 19e/ 20e eeuw, de platte zijden gedecoreerd met rivierlandschappen, met apocrief Kangxi merk Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [1] h. 25 cm China, blue and white porcelain pelgrim's bottle, 19th/ 20th century, the flattened sides decorated with river landscapes, with apocryphal Kangxi mark, provenance: Dutch private collection

China, paar famille verte porseleinen borden, 20e eeuw, gedecoreerd in Kangxi-stijl met chrysanten in een rotstuin, de rand met bloemen en perziken [2] diam. 21,5 cm China, pair of famille verte porcelain plates, 20th century, decorated in Kangxi-style with chrysanthemum in a rockwork garden, the rim with flowers and peach

China, drie blauw-wit porseleinen vaasjes, Kangxi periode (1662-1722), bestaande uit een flesje gedecoreerd met bloemen, een oorvaasje met deksel gedecoreerd met antiquiteiten en een oorvaasje met bloemenpanelen (geplakte chip, restauratie, chip) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [3] h. 9,3-14 cm China, three small blue and white porcelain vases, Kangxi period (1662-1722), comprising a bottle decorated with flowers, a one-handled vase and cover painted with antiquities and a one-handled vase painted with floral panels (restuck chip, restoration, chip), provenance: Dutch private collection

China, blauw-wit porseleinen zilvergemonteerde schotel, Kangxi periode (1662-1722), gemodelleerd met panelen en beschilderd met bloemenranken, met later 19e-eeuws zilveren hengsel (haarlijn randrestauratie) [1] diam. 26,5 cm. China, blue and white porcelain silver-mounted dish, Kangxi, modelled with panels and painted with floweing branches, with later 19th century mount (hairlin, rim restoration), provenance: Dutch private collection

China, blauw-wit porseleinen kwispedoor, 20e eeuw, gedecoreerd in Kangxi stijl met Shoulao, geleerden en jongetjes in een ommuurde tuin [1] h. 14,5 cm. China, blue and white porcelain spittoon, 20th century, decorated in Kangxi style with Shoulao, scholars and boys in a fenced garden

China, blauw-wit porseleinen 'lotus' kom, Kangxi periode (1662-1722), gemodelleerd met bloemvormige panelen met lotus, waarboven panelen met elegante dames in tuinlandschap, met apocrief Chenghua merk (chips, haarlijn) [1] diam. 23,5 cm China, blue and white porcelain 'lotus' bowl, Kangxi period (1662-1722), modelled with flower-shaped panels with lotus, below panels of elegant ladies in garden landscapes, with apocryphal Chenghua mark (chips, hairline)

China, zilvergemonteerd blauw-wit porseleinen schenkkan, Kangxi periode (1662-1722), het zilver later, gemodelleerd met bladvormige panelen met figuren en bloemen, onder florale decoratie, gemerkt yue (haarlijn, deksel met chip) [1] h. 16,5 cm China, silver-mounted blue and white porcelain ewer, Kangxi period (1662-1722), the silver later, modelled with petal-shaped panels with figures and flowers below floral decoration, marked yue (hairline, cover with chip)

China, blauw-wit porseleinen kom, 19e eeuw, gedecoreerd met bloemenpatronen, met apocrief Kangxi merk (randchip) [1] diam. 18,2 cm China, blue and white porcelain bowl, 19th century, decorated with floral pattern, with apocryphal Kangxi mark (rim chip)

China, twee blauw-wit porseleinen theebusjes, Kangxi periode (1662-1722), een met later zilveren montuur en gedecoreerd met elegante dames in een tuin, gemerkt met artemisiablad, de ander balustervormig en gedecoreerd met figuren in een tuin, gemerkt yue (deksels niet bijpassend, deksel met chip, kleine chips aan voetrand) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [2] h. 14,5-15,5 cm China, two blue and white porcelain tea-caddies, Kangxi period (1662-1722), one with later silver mount and decorated with elegant ladies in a garden, marked with artemisia leaf, the other of baluster shape and decorated with figures in a garden, marked yue (covers matched, cover with chip, small chips to footrim), provenance: Dutch private collection

China, twee blauw-wit porseleinen theepotjes, Kangxi periode (1662-1722), een gedecoreerd met panelen met elegante dames en bloemen, de ander met bloemen (beide met chip aan tuit, frits, haarlijn) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [2] h. 7-7,5 cm China, two small blue and white porcelain teapots, Kangxi period (1662-1722), one decorated with panels with elegant ladies and flowers, the other with flowers (both with chip to spout, frits, hairline), provenance: Dutch private collection

China, ijzerrood gedecoreerde porseleinen 'lotus en draken' dekselpot, modern, beschilderd met twee draken tussen lotusbloemen en -ranken, met apocrief Kangxi merk (deksel defect) [1] h. 25 cm China, iron-red decorated porcelain 'lotus and dragon' baluster jar and cover, modern, painted with two dragons amidst lotus scroll, with apocryphal Kangxi mark (cover damaged)

China, set van vijf blauw-wit porseleinen koppen en zes schotels, Kangxi periode (1662-1722), elk gedecoreerd met elegante dames rondom een dame in een ommuurde tuin (schotel met haarlijn, kop gerestaureerd, kleine randchips) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [11] diam. 9,7 cm China, set of five blue and white porcelain cups and six saucers, Kangxi period (1662-1722), each decorated with elegant ladies surrounding a lady in a fenced garden (saucer with hairline, cup restored, small rim chips), provenance: Dutch private collection

China, Imari porseleinen theepot, Kangxi periode (1662-1722), de geribde zijden gedecoreerd met vogels en bloemen in een ommuurde tuin (haarlijn) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [1] h. 11,5 cm China, Imari porcelain teapot, Kangxi period (1662-1722), the ribbed sides decorated with birds and flowers in a fenced garden (hairline), provenance: Dutch private collection

China, collectie blauw-wit porseleinen poppengoed vaasjes, Kangxi periode (1662-1722) en later, waaronder twee met zilveren montuur, alle verschillend van vorm en gedecoreerd met bloemen, dames en jongetjes (defecten) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [12] h. 5-8 cm China, collection blue and white porcelain doll's house vases, Kangxi period (1662-1722) and later, comprising two with silver mounts, all of various shape and decorated with flowers, ladies and boys (damages), provenance: Dutch private collection

China, blauw-wit porseleinen theebus, Kangxi periode (1662-1722), de langwerpige eivormige theebus gemodelleerd met panelen met elegante dames en jardinières, gemerkt yue (deksel niet bijpassend) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [1] h. 18 cm China, blue and white porcelain tea-caddy, Kangxi period (1662-1722), the elongated ovoid caddy modelled with panels of elegant ladies and jardinières, marked yue (cover matched), provenance: Dutch private collection

China, ijzerrood gedecoreerde famille noire porseleinen vaas, 20e eeuw, gedecoreerd in ijzerrood met pioenrozen en vlinders op een zwarte ondergrond, met apocrief Kangxi merk (kleine haarlijn, rand geslepen) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [1] h. 25 cm China, iron-red decorated famille noire porcelain vase, 20th century, decorated in iron red with peonies and butterflies on a black ground, with apocryphal Kangxi mark (small hairline, rim polished), provenance: Dutch private collection

China, zilvergemonteerde blauw-wit porseleinen schenkkan, Kangxi periode (1662-1722), het zilver later, gemodelleerd met panelen met bloemen, de hals met pioenrozen, gemerkt yue (frits) [1] h. 17 cm China, silver-mounted blue and white porcelain ewer, Kangxi period (1662-1722), the silver later, the lower side modelled with floral panels, the neck with peony, marked yue (frits)

China, zilvergemonteerd blauw-wit porseleinen vaasje, Kangxi periode (1662-1722), het zilver later, gedecoreerd met twee elegante figuren in een doorlopende tuin Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [1] h. 12 cm China, silver-mounted blue and white porcelain jarlet, Kangxi period (1662-1722), the silver later, decorated with two elegant figures in a continuous garden, provenance: Dutch private collection. Condition: cover lacking, minor surface wear, in good overall condition.

China, blauw-wit porseleinen wierookbrander, Kangxi periode (1662-1722), het ronde vat gedecoreerd met verschillende bloemenvazen, antiquiteiten en symbolen (sterbarsten in bodem) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [1] h. 17 cm / diam. 23,5 cm China, blue and white porcelain censer, Kangxi period (1662-1722), the circular vessel decorated with various flower vases, antiquities and symbols, provenance: Dutch private collection. Condition: two star cracks to the base, some pitting to the glaze, minor glaze wear.

China, twee blauw-wit porseleinen vaasjes, Kangxi periode (1662-1722), beide met panelen met elegante dames en jardinières, beide gemerkt yue (een gerestaureerd) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [2] h. 12,5-13 cm China, two small blue and white porcelain vases, Kangxi period (1662-1722), both with panels of elegant ladies and jardinières, both marked yue (one restored), provenance: Dutch private collection

China, twee blauw-wit porseleinen kwispedoors, Kangxi periode (1662-1722), het zilver later, een gemonteerd met hoge zilveren rand, de achtkantige zijden gedecoreerd met bloemen en rivierlandschappen, de ander gelobd en met floraal decor (de laatste met gelijmde chip) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [2] h. 8-10,5 cm China, two blue and white porcelain spittoons, Kangxi period (1662-1722), the silver later, one mounted with high silver rim, the octagonal sides decorated with flowers and river landscapes, the other lobed and with floral decoration (the last with reglued chip), provenance: Dutch private collection

China, een paar en twee blauw-wit porseleinen dekselvaasjes, Kangxi periode (1662-1722), het paar gemodelleerd met vakken met figuren in landschappen, een peervormig vaasje met elegante dames en latere zilveren deksel en een vierkant vaasje met bloemen en jardinières (restauraties en beschadigingen) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [4] h. 17,5-20 cm China, a pair and two blue and white porcelain vases and covers, Kangxi period (1662-1722), the pair modelled with figural panels, one pear-shaped vase with elegant ladies and later silver cover and a square vase with flowers and jardinières, provenance: Dutch private collection. Condition: the cover of the square vase has been restored. The pear-shaped vase not examined underneath mount. The pair with associated covers, one with infilled rim chip and another rim chip as well as a 4 cm hairline with associated chip, the other with three rim chips and hairline.

China, blauw-wit porseleinen zilvergemonteerd kannetje, Kangxi periode (1662-1722), het getordeerde kannetje beschilderd met drie jagers te paard, met latere Hollands zilveren montuur en deksel. Gemerkt 'Yu'(jade) merk (hals scherf hersteld bij montering, chip aan greep) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [1] h. 15 cm. China, blue and white porcelain silver-mounted jarlet, Kangxi, the twisted jarlet painted with three equestrian hunters, with later silver mount and cover, with ' jade' mark (chip restored by neck under silver mount, handle with chip), provenance: Dutch private collection